The United Methodist Church is a center for the revival of music and the arts in worship. The new hymnal is characterized by an inclusive use of music from different cultures and periods of history. Methodists have also recovered the lively use of the arts as vehicles for worship.
At the heart of United Methodist worship is music. Music is the language of the congregation, and it is widely understood that the function of music in worship is to help the congregation encounter God. Whether a United Methodist Church is “high church,” “low church,” or somewhere between the two, the philosophy of the function of music rarely deviates. Music is the human expression by which we are joined one to another and by which we claim our understanding of God and our relationship to God. Music is the vehicle, the action, of the work of the people.
A renewed interest and emphasis on the Bible and the sacraments has fostered the study and development of worship practices in the United Methodist Church. In turn, a variety of issues related to music have surfaced. At the top of the list are inclusiveness and appropriateness.
With regard to music, inclusiveness refers to the use of a variety of music in the worship service that relates persons of all ages and theological understandings to God. The United Methodist Hymnal (1989) has been a tremendous resource for the United Methodist Church in providing a range of music and liturgical resources that is both inclusive and challenging. It allows churches to use hymns, chants, gospel music, praise choruses, spirituals, and metrical as well as pointed psalms for worship as deemed appropriate for a congregation. The range of music found in United Methodist churches has never been greater. The same is true for the use of instruments.
While the organ continues to be the primary worship instrument for United Methodist churches, especially in accompanying congregational singing, piano, guitar, handbells, and drums (of all kinds) are the other instruments often heard in worship. The prevalent reason for using a variety of instruments in worship is using the talents found in the congregation and providing a variety of ways to express praise and thanks to God through vital and exciting singing and music-making.
The appropriateness of music and all liturgical elements are directly linked to the needs and experiences of the congregation. “Appropriate” does not necessarily mean “familiar,” but it does take into account whether a given piece of music or liturgical action is relevant to that worshiping community. Appropriateness along with artistic talents found within the congregation is the primary criteria for a variety of arts in worship. Banners and seasonal art (Advent wreaths, crèches, Lenten crosses, and other items) often make up most of the environmental art outside of the architecture itself. Worship and altar guild committees spend much care in providing art that takes into account the color or colors for a specific season as well as the symbols. The congregation seems to take delight in noticing the changing seasons of the Christian year with the textile and symbolic art that is created and displayed. One important piece of textile art for a large church in Nashville is the tapestry banner that was created from pieces of cloth given by the members of the congregation. This banner exemplifies the desire of the worshiping community to be one with each other and one with Christ.
Drama is also mostly a seasonal highlight with processions and dramatic readings happening around Christmas and Easter. Most dramatic readings take place during Holy Week and dramatic enactments take place during the Christmas season. Some churches have discovered that Scripture passages can be dramatic, especially when it is read in dialogue or in chorus.
The most controversial of the arts in worship remains liturgical dance. Here again, the issue is appropriateness. In general, dance groups tend to be accepted more readily than solo dancers. Also, dances that are included in special seasonal celebrations, especially when they involve children and youth, are acceptable to most worshiping congregations.
A new document to be published in 1993 will help churches develop programs and standards for the ongoing support of church music and musicians. The main thrust of this document is the development of musical leadership for the support of the singing congregations.
An affiliate organization, the Fellowship of United Methodists in Worship, Music, and Other Arts continues to be a supportive advocate for music and the arts. They are involved in the development of the document on music and lend support to a variety of programs and resources in worship, music, and the arts sponsored by the United Methodist Church.
Among the newest resources in worship are The United Methodist Hymnal and The United Methodist Book of Worship. Both support the use of music and the arts not only to enhance worship but to make it relevant.
Three periodicals that support church musicians in their work are Church Music Workshop (United Methodist Publishing House), which offers a feature workshop article with a well-known clinician, a music folio, and an audiocassette; Quarternotes: For Leaders of Music with Children, prepared by the General Board of Discipleship and published by The United Methodist Publishing House that provides articles on teaching children’s music, a music booklet for children with over a dozen pieces of music, and an audiocassette; and Jubilate! A Newsletter for United Methodist Musicians, produced by the General Board of Discipleship. This six-page newsletter offers a feature article on some aspect of church music, a resource page, and a page of assorted information on upcoming training events in church music held throughout the United States.